Dissonance Dance Theatre

As I glance around the city and read international and national dance magazines, I ponder the question,”What makes a  choreographer or his/her style artistically valid?”.

Before, many dancers studied under one company for many years to gain validation. This situation being similar to a master and an apprentice.  Is that valid?

Another approach would be a dancer who dances with several dance companies and decides through tenure that he/she wants to choreograph. Is that valid?

An yet, a young choreographer can create a 5 min ( more or less) “routine” for a major recoding artist and be thrown in to the professional world of choreography with no years of servitude. Isn’t that sad?

This provokes me to say that in the 21st Century there is no rules to the game.

Dance companies are folding along side music, art and theatre. What does America want in the dawn of a new  decade? It would be nice to know don’t you think lol.

But seriously… as an emerging artist and choreographer during these harsh times can also be a blessing. One must learn to be creative on a dime yet economically savvy and remember that their ” audience” makes up their “community at large” not their “cash cow”.

I struggle at first about who I was as choreographer. What do I like? Who are my inspirations? Are you suppose to fit in? Who will mentor you? Are you suppose to have one? Is their a right or wrong way to go about creating and presenting your work?

Now mind you I do not have the answer to all these question fully, but one thing I have come to know is that in the end its about the work. The work…

That’s the beautiful thing about the Arts that makes it different than anything else in the world. It have no fix way of existing. One can change form, orientation,style, process forever and it will be okay. This scared the heck out of me in my early years of training , but now its making more sense to me.

I love the ballet, modern styles of old, jazz, hip hop and narratives. There is nothing wrong with that. But I enjoy these forms on a polished body and most times that will be accomplished through a ballet dancers body.  I have begun to not look for validation from other on my work. If you create a masterpiece with all your soul someone will stand up and recognize.  I am a contemporary choreographer in love with the ballet form just like Kylian, Bigonzetti and Bourne.  There is room for me and I will claim it!

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I receive my second Small Project Grant for Marketing from the city. I am very fortunate to be blessed with that funding, for it will go towards me furthering my vision for a better dance community for classically and contemporary trained minority and progressive artists.

This spring season is going to be a great one and I will work even harder ( I know right, you would think I’m working hard now lol).

Keep an eye on me. There was a was a 45% increase in applications for the funding and the City only funded 14 artists. Thank you DC Commission on the Arts and Humanities for your support and  assisting with my vision. Thank you God for anointing me with your love.

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The more I create and play the games of political chess within the dance community, I realize that you really don’t have a say unless you are the majority.

I choreographed a ten min dance work for the choreographer showcase at the Dance Theatre at University of Maryland College Park last Sunday.  The dance work created for a small ensemble of six female dancer was danced beautifully. The work received high marks from the adjudicators, but only to be told in email that it wasn’t taken due to “curatorial reasons”.

In the end the six works that were taken, were all duets and solos. It was not indicated on the given audition materials that in the end the curators wanted duets and solos. You can’t help but feel frustration as an emerging artist always being told your work is nice but not for our purposes. How does one stay “community oriented” in an area that shuns its nose at ballet based company or rep that is not the same aesthetic? My experience is showing me that unless I’m mostly a release company I will not be invited to showcase or festivals often.

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I was always a student of the performing arts since the age of ten years. But, it was my mentor Mike Malone, co-founder of Duke Ellington High School of Performing Arts in Washington, DC, that influenced me to strive and make my mark in the world of dance.

“If you want to go and do something Shawn, go and do it!” I remember Mr. Malone saying in a classroom on the third floor in the fine arts building on Howard University’ Campus. Mr. Malone was a Professor and Chair of the Musical Theatre program in the Theatre Arts Department. Mr. Malone always had something to say if you listened, and so as a student in musical theatre it was wise to do so.

He would reflect on his life. Mike would tell the strides of how a workshop he conducted in the 1980’s for young emerging artists turned into a performing arts high school. Malone choreographed dance concerts for his dancers at Colony Theater located in Uptown Northwest Washington, DC.

In addition to personal productions, his young student performers from Duke Ellington High School performed street theatre during the 80’s. Also, Malone developed many young emerging artists and produced many productions throughout his life span. Malone cared about his community and his students. When he didn’t see opportunity for his performers, he created opportunity for them. Within that vein of thought, I pick up the torch for future generations to follow.

My vision takes from my mentor Mike Malone’s life challenges and accomplishments and fuses them with contemporary dance style, dance technology and theatre convention to assist with maintaining and developing a larger minority presence not only on the stage but off stage and in the community at large.

Dissonance Dance Theatre has served over 500 patrons in our two years of business. I am proud of the quick response my organization has achieved. We have enriched the lives of many students and patrons throughout the city continuing Malone’s legacy of community and education.

As Mike said,” If you want to see change, you become that change”. Dissonance Dance Theatre is satisfying that need by helping each artists reach their dance goals one “step” at time. His memory will live forever but two loves of his will live with me always…his love of dance ….and service.

Shawn Short

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While doing some research on a future project about the cultural fabric of Washington, I came across a blog entry by Ernest Hardy entitled, “HIV Statistics in Washington, DC”.

The article spoke about how HIV infection and rates are still at a high in the city. But what was interesting was the following quote,” A crucial fact to keep in mind while sighing in understandable exasperation, a fact that is in plain sight but bears repeating, is the deeply ingrained emotional and psychological distress/despair (passed on like family heirlooms and reinforced by myriad external factors) that is at the core of many Black folks / gay folks / poor folks / straight women / all-of-the-above not valuing their own lives. The reasons, both conscious and unexamined, that folks fuck ain’t always romantic or even lustful. Sometimes the impulse of self-destructive escapism is the spark in the libidinal hook-up.”

This parallel I see in the DC dance scene as well.  Let me explain. Just like Earnest stated in his post, folks don’t have a reason most times for what situations they put themselves in and reminds me of many artists I observe.

These artists forget what made them dance artists; Dreaming about dance steps, that rush from dance class or even the utilizing of dance as a catalyst for cultural change vs “artistic masturbation”. Instead I see dance artists  forgeting about taking class, pushing for a polished instrument for a clearer presentation of the work ,  artistic collaborations that move an audience or the artists involved, etc…

I’m not saying that there isn’t a population that does push for artistic excellence in their work or process, but its hard to see a needle in a haystack.  Ya know? Dance is part of culture and culture my art enthusiasts adds value to folks lives.  We can change a life and reach a person with our gifts, let’s not forget that!

Don’t let the lackluster bring you down into a state of “artistic self destructive escapism”, rise above the mediocrity and strive for high quality art.  Its hard but more rewarding…see you at the top fellow artists.

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Velocity DC’s Dance Concert was presented this weekend ( Oct. 2nd-4th).  The concert was a refreshing eye opener to say the least, with NYC fully committing to their artistic objectives while the DC dance companies ( minus the Washington Ballet) not pushing to were I know they could have gone.

Don’t get me wrong, I love Gesel Mason for her funny, quirky self and Edgeworks odd as helanius wants to make it . But in a venue such as Velocity, that may be some people’s first impression of DC dance art,  we have to stand up and show artistic excellence that is the standard in NYC and Philly.

Citydance Ensemble picked the wrong dance work to be their first piece many would see of theirs.  Last Look, by Paul Taylor ,  I feel was to heavy for many first timers to dance to take in.  It’s like seeing a Wagner opera versus Puccini, Puccini is lighter to digest. But I guess thats what you get when your run by a business man and not an artist.  Thanks Paul Emerson…

It is intersting to notice the extreme differences in DC and NYC time and time again.

There are many reasons why I guess. Nejla Yatkin and Ron Brown’s choreographing woke the audience up and kept them looking. I am pleased and honored to say that I’ve studied with both. Thanks you guys!

NYC lives, breathes and sweats their art.  Washington, DC is safe in their delivery. Is that due to the DC artists residency in a political capital?

Washington Ballet I must say was breathe taking.  My old employer did an amazing job. They really showed tour readiness, international prowess, superior artistic integrity and excellence. Edward Liang’s Wunderland was a trully a gem to behold. Kudos to you Septime Webre for that treat.

It seems that many of us artists needed to look at Velocity DC as a reminder of why legendary FAME actress Debbi Allen said,” You want fame well it cost and this is were you start paying for it…with sweat”.

Note to self included.

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One of the greatest things about dance is it let’s you express how you are feeling at any given moment. Whether you are happy or sad, there is always movement that can accompany your mood. Go out and express yourself through dance; it will make you feel better!

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We’ve had to say goodbye to many people this year that we grew to know through their impactful work in entertainment as well as their communities. Michael Jackson, Farrah Fawcett, Ed McMahon, Claude Purdy, Merce Cunningham, E. Lynn Harris, and amoung many others who have touched lives all over the world. When you think about economic crisis and the recession as a global burden, a person loses their life at any given moment. The world keeps turning as we mourn the loss of these great leaders. Mourning is only temporary, however, suffering is eternal so the question becomes: “Is it possible to translate chaos and turbulence into opportunities for growth, advancement, creativity, and genius?”

As a child and teenager, I was influenced by Michael Jackson’s spirit, an artistic spirit that moved him towards success despite the critics, media, and negative energies that surrounded him. I experience it daily as various challenges of the performing arts field can be quite overwhelming. Watching the evolution of Michael’s life enable me to reflect on my life and how my work can impact others in the future. Michael’s life should remind us to be grateful for all our unique experiences, good or bad. Why is it that we collectively reprimand and polarize people because of their life experiences? Can we start focusing on our own? If we concentrate on our own personal development, maybe your time can be utilized to create genius around translating chaos into creativity and abundance!

2009 has presented us with many opportunities to grow mentally, spiritually, physically, and professionally, so let’s start celebrating experiences that Michael, Farrah, Ed, and everyone that paved the way so that we can make something extraordinary happen in our time-activated existence.

Jonathon

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Last week while I was watching “So You Think You Can Dance,” the news of Michael Jackson’s death came across the screen.

We all have taken his death to heart in many different ways.  For me, I cho0se to  reflect on the great things he accomplished in his 50 years on earth.  But one thing that comes to mind  is the stronger “call to arms” his death gave me as an artist.  I say, again, it is time for the younger generations to get serious about our craft as artists before all our mentors and inspirations are gone.

I’ve noticed that most of our idols and icons in entertainment are getting up in age.  However, most of us freak out at the mear thought of being responsible for leading the way in the entertainment field.  It’s time for us, as artists, to take the torch and lead ourselves as so many of our inspirations and icons have been doing.

If we don’t do something soon there will be no “legends”  for generations to come. Who’s with me?

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